"Metropolis (1927)" Movie Review Essay & Film Analysis

Thea von Garbou - the wife of the director Fritz Lang and permanent early creative writer - opens his novel "Metropolis" wonderful motto: "In this book, there is no present, no future, no exact place, no trends, no party or class." Indeed, no trends, no party or class in a very clear text about the class struggle between labor and capital with some futuristic injections. I think it's where you can designate one of the main artistic ills of German expressionism - a chronic lack of specificity, the inability to conclusions, arguments and even minimal social analysis for the simple reason that we are talking about the art of static, existing short bursts, which the global dynamics are strictly contraindicated. When we admire the frightening beauty of the great trio of villains: Nosferatu, Caligari and Mabuse - we do not care where they go further on the subject, we are fascinated to witness the waltz of light and shadow, with the geometry of curved lines, plunging into boredom, but there is a narrative movement. It is best to know how beautiful expressionist, even prohibitively nice, afraid, isolate your fear of sensory flow, but about the reasons for the fear of never thought of. If suddenly an author on the way home see, for example, as "writhing street tongueless" (yes, Mayakovsky was not always a futurist), then this is not a metaphor and not a projection, and the "real" an animated street, physically deprived of language, recreated in a special solipsist little world. Silly imagination flows into objective reality, thereby eliminating the need to think why the world outside looks so bad. The world simply consists of evil and despair - is responsible not understand the question author
funny that of Fritz Lang, who worked in the tradition of expressionism and is now posited almost locomotive movement described perception of the world (or even "state of mind" in the apt words of Ivan. Gaulle) spared, while his wife completely absorbed the worst. Lang - expressionist nominee, who took over the creative method - the aesthetics makabra, complicated framing, work with light - but to keep a clear mind realist. The rest of the German figure towers over colleagues in the Procrustean bed of art terminology does not fit: a brilliant architect, expert on biblical texts, his stylistic palette extends far beyond the borders of the German post-war cinema, then turning to comedy based on Lubitsch, then borrowing from the theater Reinhard, and sometimes enduring the light is much more ancient layers of German culture. "Metropolis" from this point looks like a real magnum opus, a volley from all tools and a demonstration of the power of cinema. On it is accepted to speak the language of numbers, list the performance characteristics of each scenery, calculating costs and profits, to remember how many horses were involved in the crowd. Large-scale anti-utopia, inspired by New York City Metropolis - here alleys shudder from the roar of the engines, and the towers are in love with the sky. On the upper floors overeat hazel among the gardens of paradise or network office corridors, at the bottom - a mess of things people in working uniform, gears, pistons, steam boilers and predatory klatsat gateways. Confusion defenseless man, entered the new century to the accompaniment of the clatter, rumble, rattle giant metal monster - it was the soul of a metropolis on a plan Lang
However, the main line is already does not hold water.. The leitmotif is the poetic wording: "between the brain and the muscles of the heart should be." In other words, to the proletarian and the bourgeoisie shook hands, needs a sort of mediator, diplomat, who according to the method Tarantino Mr. Wolfe "solve the problem" behind the scenes. Those in favor of the owner's son Freder city - actually a capitalist foreign Protestant ethic, compassionate young man, ready in case anything happens even to stand by the machine, if the proletarian busy sabotage behind enemy lines. Disclosure of the social question shows extreme naivete literary basis: arguments are carried out exactly in the spirit of the part of the bourgeoisie, that seems to be a bit tired to pray on surplus value, but other entertainment does not come up, and have not wished to soot stained the working class of common affairs. It is a modern attitude "do not want to decide anything", in fact, forced to introduce a third force, to create the character chosen to class contradiction disappeared as if by itself, without any loss of comfort and without revolutions. Happiness for all, without getting out of an easy chair. Derived from these conclusions the ending was so cloying that he Lang wanted to change the text, but in the end succumbed to his wife. However, earlier films and the duo were placed in artless formula. Close to a genius at staging mediocre scripts
course, German culture has always developed on the laws of dialectics, but at the coordinates "Metropolis" contradictions and dualities, perhaps, it was too much. The denouement was not long in coming: after the film director Goebbels offered solely to develop the Nazi cinema - Lang silently flew away, in the United States. Frau von Garbou on a similar proposal agreed. According to German streets already being walked golems, homunculi and somnambulist, which incited the crowd local Mabuse and Caligari. Spurt in reality failed.

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